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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 01/01/2013

Dick Heath
Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
historian9

Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.37 | 621 ratings
KIND OF BLUE
Davis, Miles
4.45 | 138 ratings
TIME CONTROL
Uehara, Hiromi
4.38 | 420 ratings
IN A SILENT WAY
Davis, Miles
4.36 | 881 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.38 | 157 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 362 ratings
SPECTRUM
Cobham, Billy
4.27 | 628 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.27 | 536 ratings
ELEGANT GYPSY
Di Meola, Al
4.37 | 94 ratings
MILESTONES
Davis, Miles
4.34 | 115 ratings
VISITATION
Pohjola, Pekka
4.27 | 377 ratings
BITCHES BREW
Davis, Miles
4.28 | 222 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.56 | 35 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.30 | 137 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.24 | 469 ratings
CARAVANSERAI
Santana
4.24 | 352 ratings
ABRAXAS
Santana
4.24 | 418 ratings
ROMANTIC WARRIOR
Return To Forever
4.26 | 225 ratings
CROSSINGS
Hancock, Herbie
4.27 | 169 ratings
THE WAY UP
Metheny , Pat
4.32 | 94 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.40 | 56 ratings
L'AXE DU FOU
Forgas Band Phenomena
4.30 | 91 ratings
STADACONÉ
Sloche
4.35 | 63 ratings
SENTIMENTS
Iceberg
4.34 | 66 ratings
DARK SHOT
One Shot
4.24 | 174 ratings
LES PORCHES
Maneige
4.35 | 58 ratings
ALMA DE DIAMANTE
Spinetta Jade
4.29 | 87 ratings
'ROUND ABOUT MIDNIGHT
Davis, Miles
4.29 | 82 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 94 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 138 ratings
A TRIBUTE TO JACK JOHNSON
Davis, Miles
4.24 | 132 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.42 | 40 ratings
QUALIA
Syrinx
4.20 | 249 ratings
VALENTYNE SUITE
Colosseum
4.23 | 139 ratings
WHAT IF
Dixie Dregs
4.24 | 115 ratings
HARAKKA BIALOIPOKKU (AKA B THE MAGPIE)
Pohjola, Pekka
4.41 | 39 ratings
FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS
Kenso
4.72 | 17 ratings
REALIZATION
Henderson, Eddie
4.21 | 131 ratings
MYSTICAL ADVENTURES
Ponty, Jean-Luc
4.24 | 87 ratings
OFFRAMP
Metheny , Pat
4.17 | 216 ratings
HYMN OF THE SEVENTH GALAXY
Return To Forever
4.40 | 35 ratings
AGITOR LUCENS V
Arco Iris
4.25 | 77 ratings
MILES SMILES
Davis, Miles
4.19 | 129 ratings
J'UN OEIL
Sloche
4.27 | 65 ratings
BIG FUN
Davis, Miles
4.22 | 89 ratings
EROTIC CAKES
Govan, Guthrie
4.19 | 127 ratings
THE LOST TRIDENT SESSIONS
Mahavishnu Orchestra
4.65 | 18 ratings
TERJE RYPDAL
Rypdal, Terje
4.18 | 151 ratings
FAIRYPORT
Wigwam
4.32 | 45 ratings
LEB I SOL 2
Leb I Sol
4.28 | 50 ratings
RAHMANN
Rahmann
4.56 | 20 ratings
IZVIR
Izvir
4.15 | 153 ratings
QUANTUM
Planet X
4.29 | 46 ratings
DEDICATED TO YOU, BUT YOU WEREN'T LISTENING
Tippett Group, Keith
4.30 | 44 ratings
EWAZ VADER
One Shot
4.24 | 58 ratings
4TH
D.F.A.
4.12 | 237 ratings
UNORTHODOX BEHAVIOUR
Brand X
4.17 | 99 ratings
SECRET STORY
Metheny , Pat
4.32 | 36 ratings
YELLOW FIELDS
Weber, Eberhard
4.19 | 74 ratings
NEFERTITI
Davis, Miles
4.10 | 242 ratings
SANTANA
Santana
4.25 | 47 ratings
WE KEEP ON
Embryo
4.12 | 154 ratings
WHERE HAVE I KNOWN YOU BEFORE
Return To Forever
4.80 | 12 ratings
HALLUCINATION ENGINE
Material
4.13 | 123 ratings
SEXTANT
Hancock, Herbie
4.17 | 71 ratings
INDÍGENA
Mar de Robles
4.17 | 75 ratings
AS FALLS WICHITA, SO FALLS WICHITA FALLS (WITH LYLE MAYS)
Metheny , Pat
4.23 | 48 ratings
FERMÁTA
Fermáta
4.19 | 62 ratings
LAMBERTLAND
Tasavallan Presidentti
4.21 | 53 ratings
PIHKASILMÄ KAARNAKORVA
Pohjola, Pekka
5.00 | 9 ratings
SCREAMING HEADLESS TORSOS [ALSO KNOWN AS 1995]
Screaming Headless Torsos
4.21 | 50 ratings
OH YEAH!
Hammer, Jan
4.27 | 37 ratings
RUCNI RAD
Leb I Sol
4.12 | 109 ratings
MASQUES
Brand X
4.13 | 90 ratings
HUASCARAN
Fermáta
4.56 | 16 ratings
RITES
Garbarek,Jan
4.17 | 63 ratings
KING CRIMSON SONGBOOK, VOLUME ONE
Crimson Jazz Trio
4.25 | 40 ratings
BELIEVE IT
Williams Lifetime, Tony
4.08 | 184 ratings
AJA
Steely Dan
4.17 | 63 ratings
AFTER THE EXHIBITION
Wrong Object, The
4.11 | 107 ratings
CHICAGO (AKA CHICAGO II)
Chicago
4.07 | 215 ratings
ONE OF A KIND
Bruford, Bill
4.16 | 66 ratings
DEDALUS
Dedalus
4.20 | 51 ratings
PORGY AND BESS
Davis, Miles
4.18 | 57 ratings
ILLUMINATIONS (WITH ALICE COLTRANE)
Santana, Carlos
4.24 | 39 ratings
CRNA DAMA
Smak
4.12 | 94 ratings
METAL FATIGUE
Holdsworth, Allan
4.18 | 53 ratings
STRAIGHT TO THE KRANKENHAUS
Secret Oyster
4.13 | 81 ratings
CINQUE
Deus Ex Machina
4.07 | 176 ratings
MORROCAN ROLL
Brand X
4.47 | 18 ratings
DIUMENGE
Companyia Elèctrica Dharma
4.34 | 25 ratings
ANOMALY
McLuhan
4.19 | 47 ratings
VOLUME 1: CONTRE COURANT
Opus-5
4.15 | 58 ratings
WATERCOLORS
Metheny , Pat
4.19 | 44 ratings
THE REMEDY OF ABSTRACTION
Triggering Myth, A
4.14 | 62 ratings
ORGANIK
Niacin
4.33 | 25 ratings
HART GENOSSEN VON ABBA BIS ZAPPA
Panzerballett
4.22 | 37 ratings
LAVORI IN CORSO
D.F.A.
4.67 | 12 ratings
THE FOLLOWING MORNING
Weber, Eberhard
4.20 | 40 ratings
STEAMIN'
Davis, Miles
4.22 | 37 ratings
CALIFATO INDEPENDIENTE
Imán Califato Independiente

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

SHABAZZ
Cobham, Billy
HYPERTHALAMUS
Dennis
PASSPORT - DOLDINGER
Passport
SEPTOBER ENERGY
Centipede

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Latest Jazz Rock/Fusion Music Reviews


 Going Mobile by STEELY DAN album cover Live, 2013
3.00 | 1 ratings

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Going Mobile
Steely Dan Jazz Rock/Fusion

Review by Suedevanshoe

— First review of this album —
3 stars A terrific document of the incarnation that got this crew up and running, with the addition of Michael McDonald's smooth croon and gutbucket piano and Jeff Porcaro on an additional kit. Sound is mehhh but the excitement generated easily envelops the listener. Since live Dan is poorly documented, one wishes there were more songs, but "Boston Rag" "Do It Again" and "Rikki Don't Lose That Number" lend themselves well to the live treatment. The last three songs are the highlight for me, with "Mobile Home" being a weird curiosity in the Dan catalog. Going back to the "You Gotta Walk it Like You Talk It" era, sometimes the band extended this 14+ minutes.

Good for the Steely Dan fan, I'd say poor for your average progressive rock fan, I'll go with a middle rating for this site's purposes.

 Red Buddha by YAMASH'TA, STOMU album cover Studio Album, 1971
2.64 | 13 ratings

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Red Buddha
Stomu Yamash'ta Jazz Rock/Fusion

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars Oddball turns pioneer

Stomu Yamash'ta hit it big with his project GO that included well renowned musicians such as Mike Shrieve, Klaus Schulze, Steve Winwood and Al di Meola. So much so that the selftitled album from 76 is nigh on omnipresent in every household with folks over a certain age. Never fails.....even my uncle, who is famous for not giving a damn about any form of music besides the one he's dancing to at the annual family get-together - even he's got a copy....and this is a man who refers to Motown tunes as hippie music...

Well as much as I like the GO project, I am much more enthralled by this early offering of his called 'Red Buddha'. Now many of you out there probably know Yamash'ta as a synthesist, but fact of the matter is that he started out as a percussionist, a damn fine one at that!

Red Buddha is actually the name of a theatre in Paris, to which this album was recorded for. Yamash'ta had been studying the jazz traditions of the west, and they had brought him to Europe where a new explorative mindset seemed to adorn every major city's sparkling undergrowth. Paris, in particular, being one of the hot spots.

The music is all instrumental and all about the beat, the drums. There are no synths, no guitars no nothing besides a boot-full of percussion instruments, some more exotic than others. The end result amounts to something like the expression one finds in the electronic quarters with big spacious slabs of sound coming awfully close to the kind you'll find on an early Klaus Schulze record...only it's all accomplished through rhythms - snaking and twirling.

What really sets Red Buddha apart from other such proto stomp records is the way Yamash'ta seems to have fiddled around with sound treatments. Either by tuning a drum a certain way or simply by placing the mic somewhere groovy. It works though, damn how it works! Everything from soft hand drum splashes to strange modal sounding entities that flicker about like lonely candlesticks sitting on a windy field.

The first time you hear this you'll probably write it off as a late hippie project with some longhaired guy banging away on pots and pans. Please try again is all I can say. Contrary to common sense the music is fully orchestrated. The cd comes with the original sheet music. Sheet music?!?!? Oh yes. All of this rhythmic mayhem started out as a wee brainworm inside the enigmatic mind of Yamash'ta...........then again, when you return to this album you pick up new shadings - new splashes.....and woe and behold something akin to melodies. The 10th time you listen the world opens up and every fibre of your body twitches and bobs to the beat and suddenly it seems as if those elusive melodies you'd been sniffing earlier on now are way upfront, in your face and bizarrely beautiful. A vast tapestry of beats - like a thousand hearts beating in tune from obscure angles and different corners of the world.

Think of Red Buddha as one of those tricky 3D pictures you have to be cross-eyed to see: 'OH A DINOSAUR!!!'. You better believe it, and what a dinosaur! This is without a doubt my favourite Yamash'ta record. It eclipses everything that comes after. Why? Ingenuity, imagination and execution. Red Buddha should be mandatory listening to anyone interested in the early progressive scene, and here I'm talking progressive with a huge P - yet without ever becoming tedious academic music that only speaks to mathematicians and Scottish hermits. This one always manages to refuel my senses. Like a fiery phoenix or Buddha doing the jig - you decide.

 Rikki Don't Loose That Number by STEELY DAN album cover Singles/EPs/Fan Club/Promo, 1979
4.00 | 1 ratings

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Rikki Don't Loose That Number
Steely Dan Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
4 stars I have enjoyed the music of STEELY DAN since my teenage years (80's) without ever having considered them a prog or fusion band. I'd rather call it intelligent, jazzy pop. This doesn't mean I'd have anything in the world against them being in the Archives, and I know they are usually very highly respected by prog listeners. But there may be a difference in my Steely Dan liking compared to the proggers in general; I'm not so fond of their earliest, edgier albums such as Can't Buy a Thrill (1972) or Countdown to Ecstasy (1973), instead I prefer the poppier and lighter sounding albums that came after Pretzel Logic (1974), e.g. The Royal Scam, Aja and Gaucho, which many proggers probably find too commercial and easy.

That said, it comes as no surprise that 'Rikki Don't Lose That Number' is one of my favourite SD songs. It's very catchy on the chorus and it makes you feel happy, but it's oh so clever and charming. Somehow the certain soft sounds in this song make me think of the Peanuts animation films...?

It's originally the opening track of Pretzel Logic, and from the same album comes also the less catchy and less melodic 'Any Major Dude Will Tell You' that's put on the B-side of this single. (I don't know why in 1979 they released five years old material.)

 The Way Things Are by EXAMPLES OF TWELVES album cover Studio Album, 2009
3.00 | 1 ratings

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The Way Things Are
Examples of Twelves Jazz Rock/Fusion

Review by Argonaught

— First review of this album —
3 stars The Way Things Are is the 2nd album in the quasi-trilogy "Things", and, IMO, it's the weakest one. Maybe that's why it has not been released on vinyl, unlike The Way Things Were and Things Will Be? In reality, I think the album didn't get issued on vinyl because it consists of 3 suites, which would be hard to fit on a LP without changing the original sequence of the suites (13 + 20 + 14 minutes).

The PA entry describes this album as "fusion", but most of it is more like experimental prog .. a tad too experimental, if you ask me. About half of the album is just a collection of weird- and not-so-weird sounds that do not interact with each other very well, and thus simply fail to fit together into a listenable piece of music.

Only 3 stars, therefore.

 The Way Things Were by EXAMPLES OF TWELVES album cover Studio Album, 2007
5.00 | 1 ratings

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The Way Things Were
Examples of Twelves Jazz Rock/Fusion

Review by Argonaught

— First review of this album —
5 stars Examples Of Twelves is one of the ad hoc bands, thriving under the auspices of Impossible Ark, which is a cross between a purpose-designed record label and a loose collective of young and talented, London-based jazz musicians. Two gentlemen, a bassist/composer Riaan Vosloo and a producer/engineer Benedic Lamdin serve as the center of gravity of Impossible Ark.

The Examples Of Twelves team have made what appears to be a trilogy about "things", The Way Things Were being its most prominent component.

The album consists of four fairly long and beautifully flowing compositions. Style-wise, The Way Things Were is a highly intellectual, complex (without being abstruse or indigestible) and emotionally safe fusion album that could be described as a contemporary development of the modal improvisational jazz of the 1960s.

The overall sound of The Way Things Were is quite distinctive; I couldn't describe what it is like, but I would state that it would be a worthy addition to anyone's contemporary jazz fusion collection.

A note for vinyl lovers: the album is, or at least was, available on vinyl (although not exactly cheaply), and, from what I understand, analog sound engineering was used to produce it, which is never a bad thing.

 Ultrasounds by TROUT CAKE album cover Studio Album, 2014
5.00 | 1 ratings

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Ultrasounds
Trout Cake Jazz Rock/Fusion

Review by Lear'sFool

— First review of this album —
5 stars Trout Cake formed and play not far from where I currently live, which is a boon to me. This band pretty much takes fusion muzak and builds off that to some wonderfully interesting and variously smooth and crazed directions. "Dirtman's Shingle Pavilion" sounds like the usual muzak, but then "Fox News" features some nice singing, and then with "Inward Gelatinous Disfigure" the band finishes side one by going insane. Surprisingly, it's that kind of album. Side two then proceeds to please with the band's excellent take on a more familiar fusion. The band can be said to have a range of tempo and complexity that is superb, and as such good to have this early in their career. A unique and at times odd, but completely worthwhile, recommendation.
 Hats of Glass by EELA CRAIG album cover Studio Album, 1978
3.41 | 21 ratings

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Hats of Glass
Eela Craig Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars From an artistic point of view ''One niter'' was a milestone for Eela Craig and heading to a third album they decided to add a lead singer in the core, who would be Will Orthofer.Rest of the crew and new singer started the sessions in August 77' and the album was ready by November, titled ''Hats of glass'', highlighted by its futuristic front cover and released on Vertigo.Co-producer Ulli Ruetzel was the man, who established the Erdenklang label, with which Hubert Bognermayr & Harald Zuschrader collaborated a few years later, while the second co-producer Chris Evans appears to be the same person involved in the Chris Evans & David Hanselmann duo.

There is no doubt about the direction the band was choosing at the time, when the opening cut is Chris De Burgh's ''A spaceman came travelling'' from ''Spanish train and other stories'', definitely a nice cover of lyrical and dreamy Symphonic Pop.But the rest of the album would follow the same vein, albeit with a more Teutonic, spacious edge due to the heavy use of synthesizers.Gone are the discreet Fusion edges of the previous album and with ''Hats of glass'' Eela Craig would stick with a 100% symphonic, laid-back sound.The soft lyrical parts remind me of very early KING CRIMSON, combined with the smooth symphonic plays of BARCLAY JAMES HARVEST.All vocals are in English lyrics and, despite the presence of three keyboardists, the music is always gentle, performed in elaborate orchestrations with sensitive vocals and Classical colors, based mainly on light synthesizers and electric piano.There is still some PINK FLOYD influence in certain tracks (''Chances are) with a slight psychedelic touch, but the arrangements are always full of grandiose synth-drenched soundscapes with mellow electric guitars supporting.''Holstenwall fair'' would offer the most organ-flavored composition of the album with the rhythmic tunes and the more pronounced electric guitars reminding of the links to the Kraut/Symphonic genre.On the other hand the dynamics of a trully succesful album are rather absent and the multi-vocal parts sound quite cheesy at moments.

The band had fully transformed from the Kraut/PsychJazz Rock act it was back in early-70's to an orchestral Symphonic Pop/Rock ensemble.Soft Symphonic Rock is what you get with ''Hats of glass''.Good album for fans of the genre, a bit too sweet for fans of the more complicated and intricate prog releases.Recommended.

 Through The Looking Glass by BROSH, NILI album cover Studio Album, 2010
4.00 | 2 ratings

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Through The Looking Glass
Nili Brosh Jazz Rock/Fusion

Review by admireArt

4 stars She rocks more than anything else, but also plays the Jazz and Blues, Fusion not that much, masterfully by the way!

Nili Brosh is a virtuoso guitar player. Even though she could have filled her 2010 "Through The Looking Glass" album with all kind of flashy, fast speed guitar statements, she prefers to stick to her creative songwriting, which as any virtuoso or not knows, is a different kind of universe. And what a relief it turns out to be in such a way!

Her Rock playing and songwriting is quiet a bit more daring than her Jazz encounters. She delivers an extraordinary performance as eveyone involved, but the musical routes her Rock takes are to put it simply, totally and perfectly progressive, music wise. The Jazz brushes, although tightly structured and achieved are not that outbreaking or daring. Anyway this album in proportion, Rocks more than it "Jazzes", so no big deal!

Of course all the album is filled with artistry and perspiration. Its highlights and rushes are as bright as her dynamic guitar skillfulness and self imposed balance of the same.

An album I will keep and recommend, therefore ****4 PA stars.

Thanks to PA reviewer lucas for this presentation.

 Through The Looking Glass by BROSH, NILI album cover Studio Album, 2010
4.00 | 2 ratings

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Through The Looking Glass
Nili Brosh Jazz Rock/Fusion

Review by lucas
Special Collaborator Honorary Collaborator

4 stars Freshly graduated from Berklee College of Music, the talented guitarist Nili Brosh self-released with classmates an all-instrumental album smelling the instrumental metal of "shredding" guitarists and leaning towards the adventurous world of jazz-rock.

Nili Brosh is a versatile guitarist, and it's a good thing as it spices up her musical world. She is indeed able to deliver truly heart-breaking solos on one hand. The opening elegy, but also the anthemic ballad "Through The Looking Glass" and the intricate "Lost In Suburbia", highlight particularly this side of the young musician. Then, on the other hand, her playing can turn impetuous. First, "Never be enough" with its galloping rhythms and epic guitar bring back the ghost of good old traditional heavy metal. The crying and echoing guitar retains a strong Iron maiden feel to it in places. In other moments, the guitar becomes hysterical with some nice wah wah effects. Let me tell you that this tune is completely crazy, you will tap your feet and bang your head to the petrifying rhythms and astonishing guitar layers. No wonder that she later participated in a tribute to Iron Maiden! The hasty "Typsy Gypsy" is clearrly haunted by the spirit of Yngwie Malmsteen, as it retains that specific neo-classical flavour, where fiery notes strut about as a peacock proud to show its dazzling plumage, and here are backed by some obsessing tremolos. Further on with fast rhythms, a guitar album without a boogie rocker wouldn't be possible, and the amphetamine-laden "Wafer", with strong echoes of Deep Purple's "Highway Star" in the guitar assaults, is there to prove it once again. Besides, the infectious grooves of funk music are not forgotten with the rhythmic "High Strung" and a hip hop-flavoured "Placebo", that I would take any day without hesitation in a clinical trial if it were as exhilarating! Nili can also spring a surprise. In fact, "Hat Tricks" might seem to be a sad bossa nova at first sight. But then a spanish guitar turns it to a rhythmic tune, an aquatic guitar gives it an ambient feel, and to top it, whirling guitars add some threat.

Without the shadow of a doubt, a new shredding star was born with this debut album. Still in her early 20s, Nili Brosh shows a great maturity for her age. Her solos flow like a river, flamboyant and humble in turn. From start to end, this album is a well of stunning moments, and a proof that shredding with class is still possible in the 2010's.

 A Matter Of Perception by BROSH, NILI album cover Studio Album, 2014
4.00 | 1 ratings

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A Matter Of Perception
Nili Brosh Jazz Rock/Fusion

Review by lucas
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars A disciple of Tony MacAlpine, Nili Brosh is a young guitarist who has developed a passion for complex structures and metal flavours. Already her second album, 'A Matter of Perception' is a labour of love and sees the collaboration of such famous artists like Virgil Donati, Marco Minnemann, Stu Hamm, Bryan Beller, along with her mate of Tony MacAlpine's touring band, drummer Aquiles Priester.

Ladies first, let's start with the various moods of the guitar throughout the album. Pleading on the haunting title track, it turns jubilating on the aquatic "Spring Tune". The instrument then sails in an effervescent way on the funky seas of the multi-layered "Double Entendre". Amazed licks escape from the prudent "Exit Strategy", before tear-jerking solos take over on the anthemic ballad "Silence of Saturday". The rhythmic "The Chase" offers a wealth of dizzying 6-string notes. Then from insolent on the galloping boogie rocker "Eli", the guitar goes troubled on the giddy "Adaptable Creatures". Further on, the young lady's versatility can be appreciated when her humble play on the moving "Yolanda" follows the proud delivery on the groovy "Alien Hip Hop" (a cover of a piece Virgil Donati wrote for a proto-Planet X project called On The Virg, later also covered on Planet X's 'Quantum'). Besides, the creative drumming provides a lot of depth to the tunes, while the groovy bass gives them a cozy side. Keyboards with their wide array of sounds, can be in turn spectral, orchestral, majestic or pensive, playing an extra role in the halls of imagination and emotion.

Very close in the spirit to Planet X, 'A Matter of Perception' is a real stunner. Nili is a gifted guitarist who has a great career ahead of her. All the hard work that her experience required is fruitful in the end. We are indeed really pleased to see that not only she can compete with the greatest guitarists on a technical level, but she is also able to write amazing compositions. This is an artist to follow.

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